Ex­am­plES per­mu­ta­tions of four-note units

Guitar Techniques - - LESSON | CREATIVE ROCK -

as­ce­noedin­goe­se­ri­oees di­a­toeonic (BjarsF7/D-8) although bar 7 could be viewed as a se­ries of 5th roeec­tao­eng. ea­coeh fooel­low­ing arpeoeg­giooes isoe­jal­sFo/aDn

(asoeindi­cate­doe in­ter­vals, it of

note-soee­quoeence. un­der each le), a 2-4-1-3 Sim­i­larly, th&ough

com⋲posed of⋲5ths, be⋲seen even the first half of bar 8 is it can also as

Pe⋲nta­tonic,⋲each fol­lowin⋲g four-note groups taken from a mi­nor one a 1-3-2-4 note-se­quence. note that, if the fourth note of each ar­peg­gio were placed on the string above each time, we would have ex­actly the same fin­ger­ings as used in bars 3 and 4. (Bars 9-10) now back to our four-notes-per-string pat­tEern (blac1k0 an1d2 grey no1t2es)1. we hav1e3a straigh1t2­for1w0ard15ap­pli­ca1ti3on of a 4-3-4G-/3A-2-1 unit (six-note comGbi/nEa­tion) on each string; here, due to the big stretchGy/Aouoewill need to in­cor­poGra/tEe pick­ing-hand tap­ping. weoedescend 3-3oe-2

g⋲roupoe-con­figuo­er­a­tio⋲n in­oethis (Bar 11) next the same shape us­ing a 4-1-2-3 unit on

overal⋲l each string. note how the bar helps to give the con­tents some rhyth­mic in­ter­est for the lis­tener.

(Bar 12). Then we as­cend us­ing a 3-4-1-2 unit on each string. This time, with­out the need for fret­ting-hand taps, as the pace is rel­a­tively slower. as you’ll no­tice, this par­tic­u­lar pas­sage re­quires a large stretch dur­ing the pulloff from the fourth to the first fin­ger on each string.

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